Reconstructing Ancient Worlds

Fall 2013

CLST 252LS

Maurizio Forte

XX

What did the Parthenon look like in the 5th century BCE? How spectacular was the view of the Giza Pyramids in third millennium BCE Egypt? The extraordinary growth of information and digital technologies in archaeology raises new questions about research methodology, knowledge and the dissemination of culture. In particular, the technologies of 3D data recording and representation such as computer vision, photogrammetry, and 3D laser scanning create information that has a complexity unimaginable a few years ago and whose codes of representation still must be defined and investigated. We do not adequately understand the cognitive processes that connect the geometric complexity of models with their representation. The key element on which we construct our codes, our maps, is the perception which first selects what is high-priority information and then transforms it into knowledge. The course aims explores these multidisciplinary issues, methods and technologies in the field of virtual and cyber archaeology and, more specifically, it is focused on the reconstruction and communication of the past through virtual reality and computer graphics.

Visual Culture of Venice

Spring 2018

VMS 89S | ISS 89S | MEDREN 89S | ENGLISH 89S

Kristin Huffman

W 11:45am-2:15pm | Wired! Lab (Smith, Bay 11, A233)

Description coming soon.

Rock, Paper, Chisel: The Materiality and Context of Medieval Art

Spring 2015

ARTHIST 290-03 | MEDREN 290-1-01 | VMS 290S-01

Alexandra Dodson

TuTh 11:45am-1:00pm | Nasher 119

Medieval artworks were not made for museums. They were created as components of architectural complexes, or as equally functional objects with didactic, narrative, or other practical purposes. We will explore the historical contexts of works of medieval art, seeking to understand these works as they were meant to be seen and used. We will focus on the art of Western Europe from approximately 300-1400 AD with some consideration of that of the Middle East. Discussion of be the “lives” of the artworks we study, including illuminated manuscripts, gothic cathedrals, tombs, stained glass, and altarpieces, along with the stones and pigments that comprise them, and the tools that made them.

Roman Frontiers

Fall 2013

CLST 724S

Tolly Boatwright


This advanced graduate seminar explores life along the geographical peripheries of the Roman Empire, as well as the very concepts of Roman frontiers. We turn to archaeological, epigraphic, literary, numismatic, papyrological, and whatever other evidence we can find. Our goal is not simply to investigate diverse specific communities, cultures, or archaeological phenomena; we will also read and evaluate secondary scholarship, some using more theoretical approaches. This comparative, analytical work should enable us to see Roman data and concepts with fresh eyes.

Splendor of the City

Fall 2013

190FS

Kristin Lanzoni

Iara Dundas, TA


Residents of Venice, both individually and collectively, fashioned an image of the city as unprecedented and exceptional, accomplishing this in great part through art and architecture. Venice was indeed unique— a city built on water after all— and sponsors commissioned monuments as a way to promote the city as unparalleled in beauty, splendor, and glory. Students will use digital tools, such as Omeka/Neatline, to map artistic connections across the urban landscape of Venice and its territories during Renaissance. By considering a range of artistic patronage, a wide spectrum of art commissions, and a number of the most famous artists, this course will offer a broad picture of this thriving period of Venetian art and society.

Splendor of Renaissance Venice

Fall 2017

ARTHIST 290 | MEDREN 390-01 | ITALIAN 390-02 | VMS 290-01

Kristin Huffman Lanzoni

TTh 11:45am-1:00pm | Smith Warehouse, Bay 10, A266

Residents of Venice, both individually and collectively, fashioned an image of the city as unprecedented and exceptional, accomplishing this in great part through art and architecture.  Venice was indeed unique— a city built on water— and sponsors commissioned monuments as a way to promote the city as unparalleled in beauty, splendor, and glory. The thriving metropolis and the possibility for work attracted some of the most important artists practicing in the Renaissance, such as Titian and Jacopo Sansovino. By considering a range of artistic patrons and their art commissions and a number of the most famous artists, this course will offer a broad picture of Renaissance Venice, its art, and society. A Wired! class, the semester-research project will include a digital visualization.

Image Credit: Vittore Carpaccio, Meeting of the Betrothed from the Cycle of the Life of St. Ursula, 1490-96. Tempera on canvas. Gallerie dell’Accademia, Venice. http://www.wga.hu.

Virtual Form & Space

Spring 2014

VMS 395LS

Nicola Lercari

M 3:05-5:35 pm, Lab 6:15-7:30 pm Social Science 229

Using avatar-based simulation, 3D modeling and interaction design techniques, this studio course explores new hybrid forms of digital arts and communication specifically related to virtual worlds and the reconstruction of the unique urban landscape of Early Modern Venice.

Topics in Digital History & Humanities: NC Jukebox

Fall 2015

ISI 317S | HIST 317S | MUS 317S

Victoria Szabo and Trudi Abel

TH 10:05am-12:35pm | Rubenstein Library

Digital History and Digital Humanities in theory and practice. Students plan, research and develop new technology projects which present archival material and historical interpretations to scholars and the general public through research papers, websites, and museum exhibits. The course meets weekly to discuss readings in American history, southern history, and digital history/humanities. Students explore archival material in the Rubinstein Library, learn how to use digital tools for humanities projects, develop principles of effective digital project management, create cross-disciplinary collaborations and learn about the ethics for creating research projects in the humanities.

This project is focused on transforming an inaccessible audio archive of historic North Carolina folk music into a vital, publicly accessible digital archive and museum exhibition. Nearly 97 years ago and into the 1930s, Frank C. Brown, a Duke scholar, began recording North Carolina folk music and archiving it for posterity. Most of those recordings are still housed on glass disks in Rubenstein Library, but we already have about 400 songs for which we have digitized audio and handwritten metadata with which we can work on the initial version of what we are calling the proof-of-concept NC Jukebox project.

For our project we envision converting this music to playable audio forms and making it accessible to the public in a variety of value-added, contextualizing digital and installation media exhibitions. We also want to prototype a database system to begin organizing and sharing the larger set of materials when they have been digitized later.

This course is part of the Bass Connections pathway Information, Society & Culture.

Virtual Museums: Theories and Methods of 21st Century Museums

Fall 2015

ARTHIST 305L

Maurizio Forte


The future of museum is on the immateriality, affordances, interactions, processes, artificial organisms, cyber-spaces. After an era of museography, of inorganic taxonomic museums, the short life of virtual museums, the future will be on cyber-museums: borderless, distributed, embodied and able to reproduce new knowledge in different forms, layout and rhizomes. The Internet of Things, augmented reality technologies, new data analyses of artifacts, virtual reality systems, body sensors and simulations associated to new forms of engagement are going to transform missions, roles, goals and communication of museums and collections. The transformation of museums in more dynamic, flexible and open institutions is a challenge of this century and, more importantly, this trend generates new job positions and different professional profiles at the level of cultural resource management, museum communication and technological research. The core of the course will be in digital lab sessions which will be focused on the virtual reconstruction on lost heritage and, more specifically, on museums and sites destroyed and damaged by ISIS and other conflicts in Iraq and in the Middle East such as Hatra, Nineveh, Nimrud, Baghdad.

Visualizing Cultures

Fall 2017

VMS 490S | DOCST 490S | AMES 490S

Ellen Sebring

Th 1:25-3:55pm | Smith Warehouse, Bay 9, A290

What is image-based storytelling? How can history be done through images? What are design guidelines for digital visual narratives? Cartoons, photographs, prints, illustrated news, ads, postcards. Modern Asia & the world in digital image-driven history. Work in a flipped classroom in teams. Develop image-based presentations from historical sources. Guided by media theorist & designer of MIT Visualizing Cultures. visualizingcultures.mit.edu | sebring[at]mit[dot]edu.